Overall you've demonstrated a good deal of growth over the course of this entire lesson. By the end, I feel you're largely demonstrating a good grasp of the material covered in the lesson, though there are some things I want to point out that should help you as you continue to move forwards.

Starting with your organic forms with contour curves, your curves are largely executed with confidence, and as such come out smooth and evenly shaped. Your accuracy does continue to require some work, and there are a few places where your curves' orientations are not properly alligned to the central minor axis line, so keep an eye on that as well.

One last thing on this exercise - make sure you're drawing through your contour ellipses (the ones at the tip) as you should be drawing through each and every ellipse drawn for these lessons, and make sure you the contour ellipse's degree corresponds to that of the contour curves preceding it. If the contour curve immediately before the tip is very narrow, then the contour ellipse just a little further down should not be significantly wider.

Moving onto your insect constructions, I think you're definitely making a lot of clear, visible effort to really understand the material covered in the lessons and to apply those principles to your drawings. As you move through the work, your grasp of this material improves a fair bit, and a number of your later drawings - such as the whip scorpion, the giant weta, the lobster and the mantis shrimp - all have some really great elements to them that show you're really beginning to grasp how these forms come together, how they intersect and relate with one another, and how the constructions are to be built up using simple forms over the course of several successive phases.

Now, one thing that I did notice - the most significant issue that is still somewhat present even in cases like the lobster - is that when we draw a form, we need to understand that this is, at its core, the addition of a solid three dimensional form in a 3D world. We're not just putting lines on a page. Lines and shapes can be ignored, we can treat them like they're not there when it suits us. But if we truly believe a form we've constructed is solid and three dimensional, that it's real and tangible, then we cannot simply draw on top of it as though it's not really there. That premise is at the core of constructional drawing as a whole.

We can see this issue most prominently in the jumping sider. Notice how you drew a big ball form for its abdomen, and then what you then went on to draw on top cut back into the silhouette of the ball form? This effectively takes what initially read as a solid, three dimensional form, and reminds us that it's really just shapes on a page - because it's treating it as such. Here's what I mean.

That isn't to say this isn't valid in other scenarios, but constructional drawing as we're learning it here imposes very specific restrictions on us, and it's part of the exercise as a whole. If we want to cut back into existing forms, we have to do so by actually drawing a contour line along the surface of the given form to separate it into two distinct sections, so both are clearly defined as existing in 3D space (as shown here). In general though, subtractive construction, if at all possible, should be avoided. In this case I'd sooner take my ball form and then build additional protruding forms onto it (each form being constructed in full). Then I might add further forms to help bridge the gaps between them. This is the sort of thing we actually dig into much more in Lesson 5, as animals' bodies tend to be very complex with all kinds of additional forms built up over successive passes.

So, as you continue to apply constructional drawing, you always need to remember that every single form you draw exists as something tangible and real. So for example, skipping down to the lobster, its tail/abdomen section's segmentation ends up cutting back into the box form you constructed for it. You need to always remember that once that box is in place, you need to wrap that segmentation around it, rather than thinking of it as though it's just shapes on a page. You did this far better with the mantis shrimp.

There are just two other more minor things I wanted to mention:

  • When drawing the contour lines that reinforce the joint between your sausage segments, make sure you're making an effort to actually wrap it around the forms. Right now you've got a lot of contour lines that don't hook around enough and end up flying way off the surface of the forms. More information on this here.

  • When you get into detail, as you did with your Mandifly, remember that the goal is not to decorate your drawing and make it look impressive. As discussed back in Lesson 2, you are not to incorporate form shading into your drawings, just for its own sake. Every mark you add is to serve a specific purpose, with the goal being to further communicate more information about the object. Through construction we establish how that object sits in space, and the various components of which it's made up, and through texture we convey how those surfaces feel if you were to touch them with your hands.

Anyway! I'll go ahead and mark this lesson as complete. Be sure to keep in mind the points I've made here, but you should be proud of how your skills are developing.